Dangerous Ishhq

EXPECTATIONSDangerous Ishhq is a special album. First and foremost it brings the soundtrack of Karisma Kapoor's comeback film. Secondly, it is helmed by Vikram Bhatt who, more often than not, has ensured that his films carry good music. Thirdly, and most importantly, it has

is a special album. First and foremost it brings the soundtrack of Karisma Kapoor's comeback film. Secondly, it is helmed by Vikram Bhatt who, more often than not, has ensured that his films carry good music. Thirdly, and most importantly, it has Himesh Reshammiya in charge who has now started making exceptions by composing for films that don't feature him. The fact that he has chosen

Dangerous Ishhq

after

Bodyguard

as one such exception is reason enough to believe that there would be something special in store for the songs that have been worded by Shabbir Ahmed.

MUSIC

The sound of piano at the very beginning of '

Tu Hi Rab Tu Hi Dua

' establishes the fact that Vikram Bhatt definitely had a strong say in the way he wanted compositions for his film. Add to that the way rhythm shapes up for this love pretty much reminds one of the kind of soundtrack that

Raaz

had boasted of. The overall arrangements are pretty much in the same mode as Nadeem-Shravan which is a reason to rejoice for those longing for 90s style music to make a comeback.

Meanwhile Himesh Reshammiya maintains his identity for this song which is sung beautifully by Rahat Fateh Ali Khan and Tulsi Kumar, hence ensuring that there is a definite winner at the very start of the album. Such is the melody of this song that one wants to play this one on in loop while conveniently ignoring the 'R & B Remix' and 'Reprise' versions which are clear distractions in the scheme of things and should have been best avoided since the original by itself is good enough to keep the listener engaged.

Himesh continues to gain further strength with '

Naina Re

' (which again starts with the sound of piano) and brings himself on the scene as a singer as well. While this is the only song where he also features as a singer, he also ensures that he gives it all and makes it another highlight of the album. A love song with a hint of pathos to it where Shabbir brings in a touch of good poetry to the proceedings, it has a semi-classical base to it. However courtesy Himesh, the song does appeal to the masses as well and the overall sound created is such that one is hooked on to the proceedings in the very first listening.

What further adds weight to '

Naina Re

' is the fact that Rahat Fateh Ali Khan and Shreya Ghoshal join Himesh behind the mike as well, hence making it a first and also a special outing. The kind of song that one would expect from Himesh, especially by those who have been hooked on to his compositions since the

Aashiq Banaaya Aapne

days, '

Naina Re

' also appears in a 'remix' and 'reprise' version. Though the former could well be skipped since added instruments are more of an interruption than an add-on, it is the smooth flowing 'reprise' version that does turn out to be appealing.

If one remembers '

Ishq Ki Gali

' from Himesh's

Milenge Milenge

, it won't be hard to draw a parallel with '

Ishq Mein Ruswaa

' which features next. A 'qawalli' which has newcomer Anweshaa holding the centre-stage all on her own, '

Ishq Mein Ruswaa

' avoids getting into a similar boisterous territory as most 'qawallis' and instead keeps background instruments at the very minimal. A situational track that takes time to catch your attention instead of hooking you on immediately, '

Ishq Mein....

' ensures that the album's mood is maintained despite songs fluctuating between different eras (in accordance to the film's setting). The 'remix version' is interestingly created though as the 'qawalli' is turned well into a club outing.

The song that seems a rather odd to begin with but gets stuck on your head after three to four hearing is '

Umeed

'. A haunting outing about a woman wondering about her lost love and whether she would ever manage to gain it back; '

Umeed

' is a good fusion of contemporary Indian music with Western arrangements and quintessential Himesh touch. A good cocktail which, despite being situational, has good enough potential to stay in your mind long after it has been played, '

Umeed

' has Amrita Kak holding charge (and singing quite differently from her usual self as well) with Shahab Sabri bringing himself on intermittently.

Expected to play right through the course of the film at important junctures of the narrative, '

Umeed

' also sees a 'remix version' for itself. Though even the original version is almost a club outing, the 'remix' only enhances the effect.

Shahab Sabri begins the proceedings for '

Lagan Lagi More Piya

' which is core Indian in appeal and has an all-around happy feel to it while seemingly set in the Meerabai era. Shreya Ghoshal is just the right singer ropes in for this number which requires someone with high calibre to hold fort. Her voice enhances this love song which has a touch of devotional feel to it as well but never makes it overpowering enough to deviate from its commercial setting. Yet another situational track, it fits perfectly well into the film's setting.

OVERALL

What works most for the soundtrack of

Dangerous Ishhq

is the fact that it never once loses sight of core setting of the film's story and ensures that a steady momentum is maintained. This is encouraging for the album since the film isn't a quintessential musical romantic.

Nonetheless, since the music release is happening quite close to the film's release, it would require instant push through positive word of mouth to make huger impression commercially. However Vikram and Himesh can expect good popularity coming the album's way, courtesy at least a couple of tracks that are chartbuster material, what with '